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THE RITUAL 


OF THE 


+QLL£CTK>N. 

«2<T3// 

-PV: *. * -VA 


TEMPLE OE RAMlSYAllAM 


IN 

SOUTHERN INDIA. 


BY 

J. BURGESS, LL.D., 

r.K.&.S, M.B.A.S., M.S. AS. PAEXS, & C . 


(From the Indian Antiquary 1883 ). 


BOMBAY: 

EDUCATION SOCIETY’S PRESS. 

1884. 








^~j/f 



THE RITUA.L 


OF THE 

TEMPLE OF RAMESVARAM 


SOUTHERN INDIA. 


BY 

J. BURGESS, LL.D., 

5.B.G.S. M.R.A.S., M.S. AS. PAEI8, &C. 


{From the Indian Antiquary 1883). 


BOMBAY: 

EDUCATION SOCIETY PRESS. 





."M 


x- 



«1600 

'05 




THE RITUAL OF RAMESVARAM. 


Among the great temples of Southern India 
perhaps no one is more interesting than that 
■of Rameivaram, on the east side of the 
small island which takes name from it. The large 
temple, in its present form, is not very old, hut 
its proximity to the sacred bathing place or 
Tirtha of D h a n u s h k 6 t i, on a spit of sand 
that runs ont on the south-east of the island, 
and the great wealth 1 lavished on it by the 
Setupatis or Chiefs of Ramnad (Ramana- 
thapnram), have rendered it a place of great note 
among devout Hindus. It is still visited daily 
by scores of pilgrims from all parts of India, and 
at sacred seasons by hundreds and thousands,— 
and of these the vast majority come from great 
distances. Probably more come from Nepal and 
north of the Ganges than from the Tamil dis¬ 
tricts in the immediate vicinity, while the Dakhan 
and Maisur seem to contribute the majority! 
Few great temples are now much venerated by 
the people in their immediate neighbourhood. 

The temple buildings are very large, and like 
others in the south they are surrounded by a 
high wall on the four sides, covering an area 
measuring about 865 feet from east to west by 



4 


657 feet from north to south, 1 with unfinished: 
gopuras or gate towers on the east, south and 
north, and a single complete one about 78 feet 
high on the west side towards the village. On 
the east side is the largest unfinished gopura, not 
on the wall of the present outer enclosure, but 
on that of an inner one surrounding what is 
known as the second prakara, or enclosure, while 
outside the main wall on that side are two large 
porticos, one opposite this gopura and leading* 
up towards it,, and the other a little to the south,, 
leading in towards a subordinate gopura in line 
with the last, and surmounting the gateway in 
front of the temple of the goddess or Amman. 

Inside the great enclosure is the third prd- 
kdra abutting on the east wall, and measuring 
about 690 feet by 435. A passage about 18 feet 
wide with raised corridors of about the same 
breadth on each side, leads from the western 
entrance into this, outer prdkdra or enclosure, 
which contains the great corridors surround¬ 
ing the inner buildings, and is by far the 
most imposing feature of the temple. Like 
the entrance passage it has a corridor on a raised 
platform on each side of it, and runs, round the 
four sides of the rectangle which it encloses. 

This third corridor or prakara alone is open 
to all castes. Within it, and nearer the east 
face than the west, is an area 386 feet from 
east to west by about 314 feet from north to 


1 This represents an area of 13 acres 5 poles, 



h 


south, also surrounded by a high wall enclosing 
the second jordkdra, which is by no means so 
imposing, though somewhat older than the 
third ; and within this again are the first 
jprdhdra , or inner enclosure round the shrines 
of the god Ramalingasvami and of his 
•consort P a r v a -t a y a r d h i n i Amman, of 
Visvanatha Svami and Visalakshi 
Amman, besides a number of smaller chapels 
•and rooms- The principal shrines are said to 
haye been built by Udaiyan Setupati, with the 
aid^ of a Ceylon prince styled Pararaja Sekhara 
inS. 1336 (A.D. 1414), the latter haying had the 
stones hewn at Trihkonamalai and numbered on 
the spot, ready to be put together. This is said 
to be supported by the architectural style of 
these buildings themselv.es, and by inscriptions 
on the base of the chief shrine.. The north and 
south gopuras are unfinished, and ascribed to one 
Parana Payar, of the Dakhan, about 1420 A.D. 

The western gopura, like the others, built 
entirely of hewnstone, and the outer surrounding 
walls are said to be the work of Udaiyan Setupati 
and a Komafcti of Hagur, near Hagapattanam, in 
1434 A.D-; and statues of the merchant and his 
wife surmount the eastern wall. In 1450 addi¬ 
tions were made to the inner buildings by a 
wealthy Hindu from Madura, and others in S. 
1490 by Chinna Udaiyan Setupati Kattateyar, 
then a fendatory of Visvanatha Uayakkar of 
31adnra, whose statue and that of his son 


6 


Krisbnappa were set up in front of the Nandi. 
An inscription relating to this by the side of the 
door into the first jorakdram, in front of these, was 
destroyed, with others, some twenty years ago 
or more, during a suit between the Pandaram 
of the temple and the Zamindar of Ranmad. 8 

The southern half of the second jorakara 
was erected, it is said, about 1540, by Tirumalai 
Setupati, whose statue and that of his son 
Raghunatha stand by the side of the south 
entrance into the Amman temple, and are 
honoured with garlands and an offering of 
betelnut and flowers 3 every Friday night when 
the image of the Svami is brought to this place 
on its way to the bed -( Palliyarai ) in the 
Amman temple. Raghunatha Tirumalai Setu¬ 
pati, just named, built the rest of the second 
jorakara about S. 1580. 

The great unfinished eastern gopura is as¬ 
cribed toDalavai Setupati in S. 1571, who also 
built the Sabhapati shrine in the north-east 
corner of the third jorakara. In S. 1624 

* The suit was conducted by one Appavu Pillai, still 
living, who had a number ©f inscriptions forged and 
inserted in the walls, and produced translations of them 
as evidence against the claims of the Setupatis. This- 
evidence never seems to have been questioned. The suit,, 
appealed to the Privy Council, was given in favour of 
the forgers, and the Setupati deprived of his right to 
appoint the Dharmakart&s or interfere in the manage¬ 
ment of the temple which his ancestors had built and 
so richly endowed. The older copperplate grants dis¬ 
appeared at the same time. 

3 These go to the Zamindar’a servants if any aro 
present. 




7 


Hiranjagarbhayaji Ravikula Vijaya Raghu- 
natha Setupati, besides other buildings, erected 
the Palliyarai or bedroom of the Amman 
temple, and the mandapa in front—in which are 
statues of himself 4 and his brother Kadamba 
Tevar. 

About S. 1662 the Setupati began the third 
prahdra, setting up the entrances into it from 
the gopuras on all four sides, and it was com¬ 
pleted by Muttu Ramalinga Setupati (born &. 
1647, A.D. 1725-6) in S. 1691. The statues of 
the latter and of his two mantrJs—Muttirulap¬ 
pa Pillai son of Saundara Pandiyan Pillai, and 
Krishna Ayyangar 5 , with members of his family 
are conspicuous in the western entrance corridor. 

The temple therefore is not the work of one 
age, but extends oyer a period of 350 years, and 
has been erected and endowed almost exclu¬ 
sively by one family, the Setupati Chiefs of 
Ramnad. It is one of the last great works of 
the Hindus, and the latest addition to it is the 
finest of all. 0 

The pujd or ritual of this temple may deserve 
notice, as it will be found peculiar in some 

* His statue appears also in two other places with his 
Mantri, Tollakadu Muttirulappapillai opposite, together 
with others of his friends ; but about 1835 a Pandaram 
had some of them chiselled into ascetics, affixing beards 
of lime, &c. 

3 To his grandson Satayadhanam Muttusvami AyyarigAr, 
an able Pandit and poet, I am indebted for much of the 
information given below respecting the puja. 

0 See Fergusson’s Hist, of Ind. and Eastern Architect 
ture, pp. 355-358. 




details, and differing from what is the practice 
in temples north of the Tungabhadra and 
Krishna. 

At half-past 4 or 5 a.m. the pddasaiva 
(Tam. osan) comes into the east porch in front 
of a shrine of Hanuman and blows thrice on a 
conch, tinkling on a jayaghantd (T. sekandi) 
or small gong hnng on his right wrist with a 
small stick held between the fingers of the 
same hand. Then he proceeds to the south, 
west, and east gates in succession, and repeats 
the summons. Daring certain seasons he 
visits the temples outside, and blows also on 
the sea-shore. Then come the melakdran or 
musicians,—three with drums, bheri (T. 'peri or 
nagdrd ), mridanga-bheda (T. tavil), and dama- 
ruga , two pipers ( ndgasvara ), a castanet ( kaitd - 
lam) player, and one with a trumpet kdkala 
(T. ekkdlam ),—and play in front of the Hanu¬ 
man shrine in the east entrance. The Sthanikars, 
who keep the keys, and have charge of the 
jewels, the Bhattars or priests, and the dancing- 
girl ( MuraiJcdri ) officiating for the day, with 
rudrdkslia beads in place of jewels, dressed as 
a Brahmaniand her hair uncombed—all having 
already bathed—come with the peons and ser¬ 
vants of the Dharmakarta or superintendent, 
and open all the doors up to the Mahamandapa, 
and light the lamps. The cooks go to the 
kitchen, and the storekeeper gives out rice 
and other provisions for the day, A hundred 


9 


and eighty measures of rice is said to be the 
daily dole—40 to the servants, and 140 to be 
cooked for the worship. 

Besides these officials it may be as well here 
to enumerate also the following:_ 

The Gurukkal is the priest whose duty it is 
to make the puja. His assistant is the Sadhd- 
chdrya. The Savaiydr assists at the abhisheha, 
bringing the naivedya and the water ( tiruma - 
njanam ) in a silver pot (ghata) on the elephant. 

The Nayinar is superintendent of all the 
temple servants. 

The Mantrap ushp a repeats the mantra when 
the Bhattar or Gurukkal asks forgiveness at the 
conclusion of each puja. 

The Agama assists in making Samprdhshana 
according to the Agamasdstra. 

The Vedapdrdyana repeats the Veda behind the 
image when it is carried out during a festival. 

The Kattiyam holds the silver baton when 
the image is brought out at the time of dipdrd- 
dhana and repeats the Kattiyam every evening 
when the Svami is carried to the Paljiyarai. 

The Sirpadam carry the image in the 
palanquin. Inside the temple the Siviydrs 
(Sivikaiydrs ) bear it. 

The Periyamurai bring the curds, milk, &c., 
from the Araivasal and also light all thecas and 
give them to the Gurukkal during the pujds. 

About half-past five, when the cooks have 
prepared the naive dy a (food), the doors of the 


10 


Mahamandapa of the temple itself are opened. 
The pujakars or bhattars, sthanikars, and 
dharmakarta’s servants then go to the Maha- 
mandapam of the Amman temple with the 
musicians and open the door, and the priest 
presents a camphor light at the bed in which 
the images lie, with fruit and betel-nut. A 
gthanikar * * * * 7 in a reverential attitude then says 
to the image or svami:— 

JJdbudhyasva jagat-svdmin sarva-lok-axka-San¬ 
kara | jagatam upakdrdya nitya-pujdm grihdna 
bho || 8 

“ Awake, Lord of the Universe, Author of 
good to this whole world ! and for the world’s 
benefit be pleased to accept my daily wor¬ 
ship.” 

They then place the image, which is of gold, 
in a small palankin and carry it out at the 
south door, and, preceded by musicians and 
dancing-girls, two silver sticks, two torches, a 
silver umbrella and a chamara , it is carried 
round the second jprahdra by the west, to the 
east entrance of the svami temple and placed 
in the Ardhamandapa or room between the 
shrine ( [garbhagriha ) and Mahamandapa. The 

T The Sthanikars prepare the lights, carry the water, 

flowers, food, &c. used in the pflja, keep the jewels, carry 

the silver sticks in processions, cook the rice, naividya, 

ring the bell during puja, and hold torches to let the 

J^udras see where they are not permitted to enter. 

8 For these translations I am indebted to Mr. S, M. 
N atesa Sastri, 



il 


bhattar next goes into the shrine,® and removes 
the old garlands ( nirmdlya) from the ling a and 
puts them upon the image of Chan dikes vara, 
which is in* a small chapel just behind the 
shrine. 10 If this were not done, the pitjd would 
lose its merit or be of no benefit to the god. 

The bhattar next performs a short samkalpa, 
thus —sitting in the Mahamandapam facing the 
east he puts a pavitra of darbha grass on the 
fourth finger of the right hand, and bending two 
other stalks of darbha round the same finger 
he makes prundydma , i.e., holds his nose with 
the third and fourth fingers and thumb and 
repeats the words : — 

Om bhuh || Om bhuvah || Om gumsuvah^Om 
mahah || Omjanah || Omtapah || Ogumsatyamn 
Om tat savitur varenyam || Bhargo devasya 
dhimahi || Dhiyfi y6 nah prachodaydt |f 

Then he puts his hand to his right ear, and 
joining his hands he says :— 

Sri Sivdjhayd Sivaprityartham suprabhata- 
pujam vidhivat tu ahaih Jcarishye || 

“ By Siva’s order and for diva’s kind 
acceptance, I perform the sacred rite of the 
morning worship as prescribed by rules.” 

Then he performs Punyahavachanam —pour- 

0 As the same ceremonies are gone through in all the 
four shrines it will be sufficient to confine this account to 
the principal shrine. 

10 Those from the Amman temples are carried to the 
image of Chandikesvari. 




12 


ing water into a brass vessel after fumigating it 
with lighted camphor, he places it on some rice 
laid on a raised stone ( punydhavdchana kuradu ) 
in the floor, having first tied a thread round the 
pot four times over the shoulder and bottom, and 
putting akshatdh (rice grains coloured with tur¬ 
meric) on four sides of it, tying a small piece of 
cloth round the neck, putting mango leaves in the 
mouth of it, laying a cocoanut on them, and a 
garland over it, he knots together three darbha 
stalks and spreads out the lower ends (darbha 
kurcha) so that it may stand over the cocoanut, 
and makes prdtxdydma, saying :— 

Sivdjnayd Sivaprityartham suprabhdtakdU 
sthalapdtrasuddhyartham punyahavachanam 
karishye |j 

“ By Siva’s order and for Siva’s kind 
acceptance I perform the Punyahavachanam 
ceremony, for the purification of the place and 
the vessels during the holy morning time 
(service).” 

He then lays down the cocoanut, and darbha- 
hurcha, and taking the mango leaves, dips the 
tips of them six times into the water and drop¬ 
ping it into a smaller vessel says (1st) ‘ Vviddhih( xx 
to which the Sadhacharya answers, ‘ astid ; 12 the 
2nd time he says, ‘ pushtih ,’ 13 to which the Sadha¬ 
charya again says, ‘ astu' ; 3rd, 4 tushtih ,’ 14 Ans. 

11 “ Increase !” or “ May there be increase !” 

12 “ Amen,” or “ Be it so.” 

13 “ Prosperity !” “ Pleasnre !” 



13 


£ astu 4th—‘ drogyam,’ 15 A. ‘ astu ; 5th— * dha~ 
nadhdny asamriddiK , 1G A. £ astu’ ; and 6th — 
‘ gubrdhmanebhyah subham, 517 A. i astu’ The 
bhattar now pours the water back into the first 
pot and replacing the cocoanut he takes 5, 7 or 
9 darbha stalks and touches the pot, while the 
Sadhacharya ( adhyayanabhatta ) repeats the 
Veda 13 —the bhattar following him; this last 
takes 10 or 15 minutes. Again the bhattar 
takes off the cocoanut and garland and lays 
them down, and dipping the darbha and mango 
leaves in the water he drops it on his head. This 
is called dtma-prohshanam. The rest of the 
water he sprinkles over the floors of the Maha- 
-and Ardha-mandapas and the shrine, and on 
the vessels used in the pujd,- —to purify them. 

A sthanikar brings water from a well called 
the Kotitirtha, in the first Prate dr a, and fills a 
large vessel that stands in the shrine. The 
bhattar then takes a handful of sandalwood 
paste, 19 and rubs it on the lihga and th epitham in 

15 “Health!” 

10 Plenty !” or “ Abundance of grain and wealth !” 

17 “ Good to kine and Brahmans.” 

18 Printed in the Punydhavdchanam panchddi. 

19 Composed of sandalwood powder, musk, saffron 
flowers, sandalwood oil, ciyet ( javddu and punuhu ). 
bezoar ( gordchana ), and pachcha-Tcarpilra. The following 
are the sixteen kinds of baths :— 

Prathamam gandhatailam cha dvittyam lihuchdna tu || 

TriUyam mudgapishtam cha chaturtham rajanim 
tathd || 

Pahchamam ardravastram cha shashbham gavyabhi- 
shdehanam || 

Saptamam payasd sndnarn ashtamam dadhir uchyati\\ 



14 


which it stands. Next he pours water over it 
from the large vessel, repeating the mantra :— 

Sri-chakram Paramesvarena ghatitam betdla- 
pdpapaham || SUd-mahgala-vdpihdmrita-sardbrd- 
hmyarii Haiiumat-sarah [ Agastyani Baghu-Bdma- 
Lalzshmam-Jatd-Lakshmi-sarah pdvakafi |J Cha- 
hrdkhyam Siva- Sauihha-UrUha- Yamuna-Gahgd- 
Gayd hotayah | Sn-sddhydmrita-Mdnasdkhyam 
aparaih Sriinad-Phanushlcoty-api || 

“ The Sri-chakra-tirtha (holy ivater ) which is 
powerful to wipe off the sin of the Betala , 20 

Navamam ghritam evoktam dasam panchdmritam 
tathd || 

Phalasdradn dadit Raudram dvddasam madhur 
uchyati || 

Ikshu-sdram tray6dasam ndlikeram chaturdasam\\ 

Panchddasam gandhahaimam suddhodam sho dasam 
bhavdt || 

Shodasa-snapanam prdktam madhye suddhd dakais 
saha || 

“First of all, by the scented oil; second, by the lime 
juice; third, by the flour of green pulse ; fourth, by 
turmeric-powder; fifth, by the wet cloth ; sixth, by the 
Panchagavyaf seventh, by the milk-bath ; eighth js said 
to be curds ; ninth is said to be ghi; tenth, is Pancham- 
rita; eleventh, the fruit juice ought to be poured; 
twelfth is said to be honey ; thirteenth, the sugar-cane 
juice ; fourteenth, the tender cocoanut (juice); fifteenth, 
fragrant water; and sixteenth comes the pure water. 
Thus sixteen kinds of bath, with the pouring of pure 
water in the midst, are enumerated.” 

Abhishika-phalam || 

Purvohne, chabhishSkam tu sarva papa-vindsanam || 

Madhydhnd chdbhisMkarh tu sarva-sampatpradam 
bhavdt || 

Sdyahnd chdbhisMkam tu sarva-vyddhi-vindsanam || 

“ The performance of the bath worship in the morning 
takes away all our sins. The performance of the bath 
worship at the noon gives us all prosperityThe per¬ 
formance of the bath worship in the evening drives 
away all our sickness.” 

80 i.e., of a man possessed by the Betala. 



15 


was created by Paramesvara. The holy waters, 
Sitavapi, Mangalavapi, Amrita-saras, Brah- 
myam-saras, Hanumat-saras, Agastya-tirtha, 
Raghurama- tirtha, Jata-tirtha, Lakshmana- 
saras, Chakra-tirtha, Siva-tirtha, Samkha-tirtha, 
Yamuna-tirtha, Ganga-tirtha, Gaya-tirtha, and 
others, form the karor of holy waters. The 
holy Sadhyamrita-tirtha, the holy {water) 
named Manasa, which is as it were another 
Manasa 21 itself, and the Dhanushkoti-tirtha (also 
form the number ,”) 

Gahgd Sindhu Sarasvati cha Yamuna Godavari 
Narmada j Kdveri Kapild Praydga-niyata Vetrd- 
vat-ity-ddayah || Krishna Bhimarathi cha Phalgu 
Sarayuh Sri-Gando/M Gomati | Nadyah Sri Hari- 
pddapamhaja-bhavdh hurydt sadd mahgalam || 

“May the Sindhu, Sarasvati, Yamuna, Go¬ 
davari, Narmada, Kaveri, Kapila, Prayaga- 
niyata, Vetravati, Krishna, Bhlmarathi, Phalgu, 
Sarayu, Gandaki, Gomati—May these rivers 
that take their source from the feet of Hari 
ever give prosperity !” 

A sthanikar then draws a curtain, that runs 
on a rod, across the Ardha-mandapa, and brings 
a dry cloth to the bhattar, who dries the lihga 
with it, and with the rest of the water he 
washes the floor round the vedi and ties two 
cloths round the lihga , one of them in front 
and round the middle of it (for vastra and upa- 


21 The famous Manasa Saras. 




16 


vastra ) ; then lie dips the second and fourth 
fingers 22 of his hand in sandalwood paste and 
draws them across the front of the ling a, 
leaving S lines on it, and on these he makes a 
round spot—forming the tilaka. Then he puts 
a garland over it and lays three bilva leaves- 
(bilva-dalam) upon it. 

About 6 o’clock a sthanikar, accompanied 
by musicians playing, brings to the door of the 
shrine naive dya, of boiled rice, bread, curries— 
more than an ordinary meal to a single person. 
The bhatfcar sprinkles the food with a few 
drops of water, and repeats the Gdyatri :— 

Om bhur bbuvas suvah f Om tat savitur vare- 
nyam [ bhargo devasya dhimahi | dhiyo yd nah 
prachodaydt 23 || 

Then he takes water thrice in his hand 
and pours it on the floor, the Adhyayanabhattar 
saying, arghyam, jpddyam , achamaniyam, as he 
lets them fall in succession. Then taking bilva 
leaves in his hand he sways or waves them 
thrice towards the lihga , the other saying 
(for rice)— annarh naivedyami, (for bread)— 
apupaih naivedydmi and (for curry)— vyanjanam 
naivedyami. Again he pours water thrice 
on the floor saying as before— arghyam, &c., 
and the curtain is withdrawn. 

22 Sometimes this is done with three fingers. 

23 Om! Let us meditate on the glorious splendour 
©f that divine sun, that he may inspire us.”—H. H. 
Wilson. 



17 


A sthanikar next' gives the bhattar a lamp 24 
(dhupa ) in which gnm benzoin (or incense) is 
lighted, and he incenses the lihga , moving 
it first downwards in a wavy line, then thrice 
round, and up and down once. Another lamp 
(dipa) is given and waved as before; then 
a camphor light. The bhattar during all these 
services faces the north, and now, at the close 
of the morning pujd (Suprabhdtum , Tam. 
Tiruvanandal), he requests the Svdmi or god to 
accept the food, repeating the sloka : — 

Annam cha pdyasam bhakshyam Sitd-lehya- 
samanvitam \ dadhi-kshira - ghritair yuktarh 
grihdnaSura-pujita |] 

“O thou that art worshipped by the Devas, 
be pleased to accept the rice, payasa (Rice 
boiled in milk) and puddings and cakes mixed 
with sUdlehya (chilly-powder) together with 
curd, milk, and ghi!” 

and prostrates himself with joined hands in 
front of it. 

About 7 a.m. the second service ( TJdayamdr - 
tdnda) begins. The bhattar taking water in a 
vessel goes into the shrine, joins his hands, 
and thus asks the svami to accept this jpujd :— 
Namo Budrdya bhwidya NUakanthdya Vedhase 
Kapardine Suresdya Vyoma-Msdya vai namah [| 
Tathd 'phalais cha dhupais cha naivedyair 

Formed somewhat in the shape of a quadruped, with 
the cup for the light in place of the head. 



18 


vividhair api upachdraih siiodhasabhih pujam 
grihmshva Samkara || 

“ Salutation to Rudra, to Bhima (the fear¬ 
ful) to Nilakantha, to Vedhas, to Kapardin, to 
Suresa, to Vyomakesa. 0 Samkara accept my 
worship which is performed with fruits, holy 
incenses, holy rice of various kinds, and the 
sixteen kinds of external honours.” 

Then he dips his fingers in the water and 
casts it on the ling a , saying :— 

Apavitrah pavitro vd sarvdvastham gatopi va | 
yas smaret Pundarikdksham sa bahyubhya- 
ntaras-suchih || 

“Whether pure or impure, in whatever state 
of body (physical or mental) a man may be, if he 
only contemplates the lotus-eyed (Vishnu) he 
becomes pure both externally and internally. 

He next throws water thrice on the floor, 
saying arghyam, &c. A sthanikar then brings 
naivedya —rice mixed with curd ( dadhyodana), 
bread, fresh butter and curry, and the curtain 
is drawn. The bhattar sprinkles the food with 
water, and then waves his hand four times 
towards the linga saying —dadhyddanam 
naivedydmi, apupaih naivedydmi, navanttam 
naivedydmi, and vyahjanam naivedyami, with 
the successive movements. 

The curtain is again removed and the sthani- 
kars bring dhupa, dipa and camphor lights, 
which are successively waved as before. Then 
the bhattar locks the door and goes out. 


19 


The same is done in all the four temples, and 
the food is distributed to the temple servants. 

The third or Udayakalapujd commences 
about 9 o’clock. A sthanikar takes water in 
a silver pot from the Kotitirtha, and with it he 
mounts an elephant which is ready in the 
second Prukdra and comes out by the east gate 
with musicians, chamara, umbrella and the 
dancing girl of the day 25 in advance, and before 
them a second elephant. The procession turns 
to the south and comes round the temple, re¬ 
enters at the east gate, 20 and proceeds round 
the third Prukdra to the east entrance, where 
the sthanikar dismounts with the water and 
carries it into the Ardhamandapa. Then the 
bhattar comes, and the sthanikar brings water 
in another vessel into which the bhattar dips his 
fingers and drops it on his own head, saying :— 
Pancha-suddhih || Atma-suddhis tu jpdrvam 
sydt || 

“ The five kinds of purity: Let there be 
first of all purity of soul!” 

This is called utmasuddhi ; he also drops some 
of it on the floor as ( sthanasuddhi ,) saying— 
Sthdna-suddhir dvitiyakah || 

“ Secondly, purity of place.” 

Again he sprinkles the vessels ( dravyasuddhi) 
saying;— 

Tritiyam dravya-suddhis tu \\ 

25 They serve in turns, each a whole day. 

28 Here the other elephant makes his salam, and retires. 



20 


“ Thirdly, purity of things (accompaniments).” 
Then the lihga, (lihgasuddhi,) saying :— 
Chaturtham lihga-suddhi-dam || 

“ Fourthly, purity of the Linga.” 

And to prevent his yawning, coughing, &c., 
he makes mantrasuddhi, repeating:— 
Pahchamam mantra-suddhis sydt |j 
Prochyante pahcha-suddhayah || . 

“ Fifthly, let there be the purity of the mant¬ 
ras. Thus five kinds of purities are enumerated.” 

He then sits down in the Mahamandapa and 
worships Surya. 

Then he observes the following,— 
Sthandila-vidhih || Uttamam drona-sdlis tu 
madhyamam tu tad ardhaham J| dviprasthaih 
k any a sampro ktaiii sthandilam tu vidMyate || 
adhamam tv adhakaiii proktam tri-vidhaiii pari- 
kalpayet j| 

“Rule for covering the ground. The best 
mode of covering is by two measures of Sdli 
grain; a medium mode is by half of that 
quantity; a low mode is by half a measure ; 
these (three) form the definition of Sthandila. 
The lowest mode is by a quarter measure.” 

This rule is otherwise given thus : — 

Siva-sthandilam evoktam madhyamam tu tad 
ardhaham || 

And the rule for worship is,— 

Sthaiitlila sthal-alamkdra-vidhih= Parhhaih 
pushpais samdstirya Sridevim tatra sd yajet || 
On a raised stone in the floor in front of him 


21 


a sbhanikar places 4 measures of rice, which 
the bhattar spreads into a square 
and traces on it a circular flower 
with 8 petals. On it he places 
darbha grass and flowers, saying :— 

Sri devyai namah— and then puts a little sandal 
paste on it. He then takes an empty vessel like 
a teapot without handle, and after fumigating 
it with lighted camphor he ties a thread over it, 
passing it five times at equal distances down the 



sides and over the shoulders and bottom, and 
putting sandal paste and akshatdh on four sides, 
he places it over the figure drawn on the rice. 
Next, taking akshatdh in his left hand he places it 
on the rice at the bottom of the vessel, saying 
Fade Brahmdnam uvdhaydmi , 27 Again he puts 
more on the body of the pot, saying Madhye 

Vishnum dvdhaydmi ; on the lip, saying.:_ 

Oshthe Budram dvdhaydmi ; again on two sides, 
saying :— Dvi-pdrsvaydr nandikdlau dvdhaydmi ; 
next inside the pot, the assistant saying :— 
Pdtre jaldvdhan a-vidhih || Gahgd cha Ya¬ 
muna chaiva Narmada cha Sarasvati | Sindhur 
Godavari chaiva Kdveri Tdmbraparnikd || kalase 


21 Patrcwdhana-vidhih || Pdd$Brahm&nam abhyarchya 
madhye Vtshnum samarchaySt\\6shthS Budram samabhv- 
archya nandtlctilau dvi-parsvayoh || 

“ The precept for deifying- the vessel. At the foot 
of . vessel Brahma is to be worshipped. In the 
middle Vishnu must be worshipped. On the brim Eudra 
is to be worshipped. And on the two sides Nandi and 
Kala are to be worshipped.” 




22 ■ 


tu samabhyarcha ghrdne Vighnesvaram yaj'et | 
Suddhodam kalase purya krichhram tu anyato 
nyaset jj 

“The precept for deifying the water in the 
vessel:—Inside the vessel, Gauga, Yamuna, 
Narmada, Sarasvati, Sindhu, Godavari, 
Kaveri, and Tambraparnika, are to be 
worshipped. At the spout of the vessel, 
Vighnesvara is to be worshipped.” 

Lastly he puts some into the spout, saying: — 
Kanthimukhe Vighnesvaram avdhaydmi :— 

“ I worship Vighnesvara at the spout {of 
the vessel.)” 

A sthanikar now takes the silver pot full of 
water and pours it into this vessel. The 
bhattar puts a pavitra of darbha grass on 
his finger, thus described :— 

Pavitra-vidhih\\Darbha-dvayena samklishiam 
dvadasaiiigulam dyatam || dvir-amgulam tu 
valayam granthir ekdmgulam bhavet |[ chatur- 
amguli tat puchham pavitrasya cha lakshanam\\ 
“ The rule for making Pavitra : —Two dar¬ 
bha grasses each of twelve finger-breadths long 
must be twined together. Two finger-breadths 
in length must be devoted to form the ring of 
the pavitram ; one finger-breadth for the knot; 
four finger-breadths for the tail; this is the 
description of the Pavitram 

The sthanikar brings a large flat brass tray 
called ^am&a/am, withhalf a measure of rice, some 
betelnut, fruit (plantains), sandal paste, flowers. 


23 


sugar, darbha grass, cocoanut and mango leaves, 
and sets the tray on the south of the kurnbha. 

Puny a havachana-p uj d-sdmagra-vidhih || 

Pdtre tandula-tdmbula-phala-gamdham cha 
pushpakam || gudam-darbhamra-patram cha 
daksha-bhdge vinikshipet || 

“ The rule for the collection of the things 
required for Puny dhavach ana .—In the vessel 
rice, betel-leaf, fruit, sandal-powder, and 
flowers; molasses, darbha grass, and mango 
leaf must be placed to the right.” 

The bhattar sits facing the east, and the 
Sadhacharya and any other Brahmans knowing 
the Veda who may wish to join, sit down near 
him. The bhattar asks :— Punydh punydhaih 
vdchayishye ? “ Charitable people ! Permit 

me to pronounce the Punydhavdchanam !” 

They reply— Vdchyatdm,~“ Let it be said !” 

He says —Akshatdh ? 

They reply— Santv akshatdh, —“ Let there be 
akshatas.” 

Bhattar — Lakshinah Fees ?” 

Brahmans— Svasti dakshinah , — “ Let there 
be fees.” 

The bhattar then takes the mango leaves, 
cocoanut, darbha grass and a cloth, and lays 
them on the kumbha ,—the head of the cocoanut 
pointing to the east. Then the bhattar perform s 
sahkalpa, as before. A. sthanikar brings him 
a cloth and garland, and the bhattar ties the 


24 


cloth round the neck of the kumbha and puts the 
garland over it. Then taking down the cocoanut, 
he dips the mango leaves into the water thrice, 
and drops the water into another vessel with 
the same formula as in the first pujd. Next, 
touching the pot with some darbha stalks, he 
and the Brahmans repeat portions of the Veda 
for about an hour. The bhattar then offers 
betel-leaf, sugar and flowers, as naivedya to 
the kumbha, saying, Varunardjdya namah, and 
from another vessel he sprinkles water thrice 
on the floor with the usual formula— Arghyam, 
&c. Now taking water and a flower in his 
hand, he waves it twice, as an offering, to¬ 
wards the kumbha, saying :— KadaUjphalam nai- 
vedydmi ; gulaih naivedyami. Then he says :— 

Pugi-phaia-samdyuhtam ndga-valli-dalair yu- 
tam || ha rpura.-churna- samyuktam tambulam 
pratigrih'yatdm || 

“ Be pleased to accept betel-leaf with nuts, the 
tender leaves of NdgavalU, and camphor powder.” 

Then he adds Tambulam naivedyami, and 
taking akshatdh he joins his hands, and says 

Varunardjdya namah yathdsthdnam joratish - 
thdpayami | 

“ Salutation to Varuuaraja. I consecrate 
him in his usual place.” 

He next dips the mango leaves and darbha 
in the water and drops it on his head, then 
on the floor, and on the vessels (as prd- 


25 


kshana). The Jcumbha is now set aside 23 and 
a sthanikar brings the panchagavyam —curds, 
gJii, milk, cow-urine (gomutram) and dung 
( gomayam ) for which five cups are arranged 
in the form of a cross; the milk is put in the 
centre, the curd on the east, the ghi on the south, 
the cow-dung on the west and the urine on the 
north. The bhattar taking aksliatdh in his left 
hand, lifts a little of it with his right and puts it 
on the curd, saying :— Purvasydm disi dadhim 
pujaydmi : “ I worship the curd (placed) in the 
eastern direction.” 

Again on the gM, saying : — 

Dakshinasydm disi ghritam pujaydmi : “ I 

worship the ghi in the southern direction.” 

Next on the gdmayam,—Varunasydm disi 
gomayam puj ay ami : 11 1 worship the gdmayam 

on the west.” 

Then on the gomutram saying :— Uttarasydm 
disi gojalam pujaydmi: “ I worship the cow- 
urine on the north.” 

And lastly on the milk, saying :— Madhyame 
dugdham pujaydmi : “ I worship the milk in 
the middle.” 

He now presents molasses as naivedya , 
saying :— ’Panchagavya-devatayai namah gulam 
naivedydmi : 29 “ Salutation to the god Pancha- 
gavya. I offer molasses as naivedya .” 

The bhattar gets the rice, &c. 

29 Pancha-gavya-vidhih || 

Nava-krita-pada-madhy$ dugdham aindr& dadhi sy&t 
Yama-disi ghrita-somt vdrunc go may 6 dvS || 



26 


Then taking a little akshat&h and holding it 
out in his joined hands, he says:— Yathd- 
sthdnam gratish thdp ay ami. “ I consecrate it in 
its usual place.” 

Next he pours into the milk, first the curds* 
next the ghi, third the gfimayam, and lastly 
the gomutram, and takes the vessel into the 
garbhagriha or shrine* and sets it on the north 
side of the ling a. 30 

Again a sthanikar brings four measures of 
riee and places it on the raised stone or flag 
and the bhattar spreads it in a square and draws 
on it a lotus flower with ten petals, the 3rd 
pointing to the south and the 8th to the north*, 
the numeration commencing from the east. 
On it he places sandal paste and flowers, and 
putting a/ishatdh in his left hand he places a 
little of it on the petal No. 1, with the words— 
Anantyam dvdliaydrm. 


Nisichara-jala-v&yor isa-koneshu pishtdmalak a-rajani- 
toyd sthdpitam pancha-gavyam || 

The second part is also given thus :— 

Anala nirita vdyo.visa kdndshu pishta- 
malaka rajaniMpah sthopayct Panchagavyd || 

That is— 

“ In the middle of a square divided into nine sections 
the milk must be placed. In the East the curds. In 
the South the ghi. In the North and West the two 
gdmayas —dung and urine. In the South-East (Anala), 
South-west (Niriti), North-West ( Vdyu), and North-East 
(Imna), rice flour (paste), dmalaka (fruit mixed in water), 
Turmeric (dissolved in water) and pure water must be 
placed respectively. All these nine ingredients mixed 
together form the Panchagavya compound. 

30 The North is the proper side in all marriage and 
propitious ceremonies; in srdddhas and ceremonies 
relating to the dead the South is the proper side. 



27 


On No. 2, witli— Sukshmam avdhaydmL 
On No. 3, witli— Sivam dvdhay dmi. 

On No. 4, with— Uttamam dvdhaydmi. 

On No. 5, with — Yekanebram dvdhay dmi. 

On No. 6, with—• Yelcarudram dvdhay dmi. 

On No. 7, with— &rikantham dvd° 

On No. 8, with —Srihanthim dvd° 

On No. 9, with— Agnim dvd° 

On No. 10, with— Sivavardhinim dvd !° 

And on the small circle in the centre, with — 
Saktisameta ekddasa rudrdn dvdhaydmi. 

Placing a large pot {ghatam) on the centre 
of it and ten smaller ones ( kalasam) round it 
on the petals, all fumigated first with camphor, 
and with threads tied round each in the usual 
fashion here, he puts akshatdh and sandal paste 
on the four sides of each. A sthanikar then 
brings water (from the Koti-tirtha) and pours 
into each pot, and ties a cloth round the 
neck, placing mango leaves, a cocoanut, darbha 
and a garland on all. The bhattar now 
washes his hands and feet at a well close to the 
Mandapa and returning into the mahamandapa, 
he sits down facing the east (the jyavitra being 
still on his hand), and here he makes yrdnd- 
ydma in the usual way, then crossing his fore¬ 
arms, with closed fists he beats his temples 
with the knuckles and muttering Sri Ganesdya 
fiamah. Then he begins the saihkalgpa : S1 saying ; 


S1 .Mental vow or resolution. 



28 


Suklambaradharam vishnum sasivarnam clicitur- 
bhujam \ prasanna-vadanam dhyayet sarva-vigh- 
nopasdntaye |{ “For the pacification of all 
obstacles let ns think on him wbo is dressed 
in white robes, who is Vishnu himself, who 
is of the colour of the moon, who has four 
hands, and who is of pleasing appearance.” 

And then, holding his two hands clasped on 
the right knee, the right hand above, he repeats 
the mantra r— Asya sri-Bhagavatah malid- 
purushasya Sivasy-djhayd 82> pravariamemasya 
adya brahmano dvitnye-pararddhe svetavardha- 
Jcalpe vaivasvata-manvantare ashtdvigum , sat 
tame Kaliyuge prathama pdde Jambu~dmpe 
Bharata-varshe Bharata-Jchande Meror dakshine 
pdrsvi sakdbdS asmin vartamdne pravarttam 
dnasya vydvah&rik® Pmbhavddi-shashti-samvat 
sardndm madhye (Chitrabhdnu) 33 -ndma-sam- 
vatsare (uttardyane Mmanta-ritau Makara- 
mdse svjklapahshe-saptamydm ) 34 mbha-tithau 35 
( Induvdmra) r yuhtdydm {Revati-)nakshatra- 
yuktdydm sri Siva- nak$hatra, 3& sri Siva-yoga, 
sri Siva-karana Subha-yoga subha- karana 
evahguna-visesham-visishtdydm subha-tithau 
‘In the second—southern division of the Con¬ 
tinent of Brahma which is going {its round)) 
by the command of the great and reverendl 

33 A VaishnaYa would say Vishnor djnayd* * 
as i. e.1882-3. 

Corresponding to 15th Jan. 1883. 

* s Punyatithau would he used in §rdddho, ceremonies,&c. 
m Monday. 



29 


Siva; in the {present ) time of Svetavaraha, in 
the reign of Vaivasvata-manu; the twenty- 
eighth ; in the first quarter of the Kaliyuga; 
in Jambndvipa; in Bharatavarsha, in Bharata- 
khanda ; in the southern direction ^rom Mern; 
in the Saka-era ; in the samvatsara Chitrabhanu 
of the cycle of 60 years beginning from 
Prabhava; in the Hemanta season ; during the 
(sun’s) northern course; on the auspicious day 
Monday the ?th tithi of the light half of 
the month Makara; on the auspicious day in 
which is the asterism Revati, the Siva 
nakshatra, Siva yoga, Siva Karana, the Subha 
yoga, Subha Karana, and other {auspicious) 
times are in conjunction.” 

Then he says,— &Iri-EdmandtJiesvarasyaprdtah- 
Jcdle ahhishekdrtham sndpanapujamvidhivadahum 
karishye: —* For the holy morning-bath of 
Ramanathesvara, I perform the necessary 
worship of the bath as prescribed by rules” : — 
and taking akshatdh in his right hand he 
puts small quantities of it, with his left; 
1st, on the ghaiam or large pot, saying:— 
Bapta-vidha-samudra-tirthdn dvdhaydmi : “ I 
deify the seven kinds of ocean waters in the 
vessel;” 2nd, into the kalasa on petal No. 1, 
saying i— Gang dm avdpaydmi: “ I fill up water 
from Granga.” Into the 2nd katasa, saying:— 
Yamundm dv dp ay ami ; into the 3rd— Narma - 
dam avapaydmi ; into the 4th— Sarasvatim 
dvdpaydimi ; into the 5th— Sindhunadhn dvd- 


30 


pay ami] into the 6th — Goddvarim dvdpaydmi ; 
into the 7th —Kdverim dvdpaydmi ; into the 
8th— Tdmraparmm dvdpaydmi ; into the 9th — 
Sivatirthdn dvdpaydmi; and into the 10th kala- 
sa saying:— Saw an puny a-tir than dvdpaydmi . 

A sthanikar brings betel leaf, plantains and 
sngar, and another brings a single dipa and 
dhupa, and the bhattar waves the dhupa, saying, 
— sawa-tirthebhyah mahd-purushebhyahdhupam 
dghrdpaydmi ; 37 then the dipa, sayings ama r tir- 
thebhyah mahd-purushebhyah dipath darsaydmi . s ® 
Then he sprinkles a few drops of water over 
the betel-leaf, sugar and frnit, and offers them 
in succession as naivedya saying : — sarva,° &c. 
hadali-phalam naivedydmi ; gulam naivedydmi ; 
and pugi-phala-samdyuktarh ndgavallidaJair-yu- 
taiii | kalpura-churna-samyuktaih tdmbulam pra- 
tigrihyatdm [| sawa-tirthebhyah mahd-purushe 
bhyah tdmbulam naivedydmi. And then taking 
akshatdh in his hands he places it over the gha- 
tam, saying : —Sawopachdrdn samarpaydmi : 

“ I perform all the obeisances.” 

A sthanikar next brings, in separate dishes, 
honey, plantains, curds, milk, ghx and sugar 88 
thus enumerated : — 

Panchdmrita-vidhih |f 

Da dhi- m ad It, u -p ay a- s a rp i- s a r hard m adhy am d d i 

37 To the great persons — all the great rivers — I present 
incense. 38 I present light. 

39 At the Ardrd fea&t (Tam. Tiruvddirai) on the Ardrd- 
nakshatra in Margasirsha, jackfruit, mangoes, pome- 



31 


o- 


sara-padasivakdshte vinyased brahma-mantraih || 
guduva-yugala-yugmam prasthapddam tu pahch- 
dmrita-maya siva-yogyam sthdpitam trini hale || 
“ Of the curds, honey, milk, ghi, and sugar, 
begin from the middle and place them all in 
the five sacred spots, pronouncing the Brahma- 
mantra. 40 Twice two, and a quarter times of 
sugar must be in the mixture. This kind of 
mixture, which is called Pahchamnta must be 
offered three times to the god.” 

The bhattar goes into the shrine and removes 
the garland, flowers and bilva leaves, and 
hands them to a second sthanikar, who takes 
them to the chapel of Chandikesvara. Then 
the bhattar stands before the figure of Ganapati 
or Vighnesvara, in the Ardhamandapa with 
joined hands, and says :— 

Skanddgraja ganddhUa devyd vallabhayd 
saha | Sivapujdm pravritto’smi nirvighnatvam 
prasida me || 

“ Thou elder brother of Skanda, the lord of 
all the ganas ! I have begun the worship of 
Siva with his beloved wife; be pleased to 
favour me with freedom from all obstacles.” 

Then he goes to the Nandi and removes the 
garland of the previous evening, and those on 
all the other images in the temple, and takes 

granates, tender cocoanuts, grapes, sugarcane and butter 
are added. 

40 ^T^f^TfcT and the five mantras beginning with it are 
called Brahmamantras. 



32 


those of the gods to Chan dikes vara—those 
of the Ammans to Chan dikes vari. This takes 
half an hour to do. 

Returning to the garbhagriha, he sprinkles 
water on the linga (prokshana), and now begins 
the abhisheka. The curtain is drawn and a 
sthanikar has already filled a large vessel in 
the shrine with water from the Koti-tirtha, and 
now brings the sandalwood paste or ointment 
already described, and the bhattar rubs it over 
the linga, and pours water on it. The sthani¬ 
kar next brings powder of siyakhdy (mimosa 
abstergens ) and the bhattar mixes it in a brass 
cup with water, forming a very thin paste, and 
pours it on the linga , and again water. The 
same follows with powdered cinnamon, and 
turmeric ; then the sthanikar opens the tender 
cocoanut and the bhattar pours the water of it 
into a bowl and thence over the linga, followed 
by water; then the curds, the ghi, the milk, 
the sugar mixed with water and the honey are 
successively poured on, and each followed by 
an ablution of water. Next the panchagavya 
already described is brought and poured on, 
and again water, and lastly thin sandalwood 
ointment. Then he ties a cloth to the middle 
of the linga, and offers naive dya of mudgdn- 
nam (Tam. pohgaV) made of boiled rice, green 
dhal, ghi, pepper and cumin, first sprinkling 
it with water and then moving his hand five 
times towards the linga, saying:— Mudgdnnaih 


33 


naivedye. Next he waves a dhupa with 4 or 5 
lights on it whilst the sthanikar rings the bell; 
then dip a ; then camphor, and the curtain is 
withdrawn and again drawn. The bhattar 
now takes the cloth off the linga and pours 
water over it, and a sthanikar brings over the 
ten kalasas of water in the order in which they 
have been already numbered, and gives them 
to the bhattar who pours them over the linga 
and gives the empty vessel to another sthanikar. 
The ghatam (or large vessel) is next brought, and 
the sthanikar holding it, the bhattar takes 
a mango leaf and dips the top of it into the 
water thrice dropping it each time on the liiiga. 
Then throwing the leaf into the Ardha- 
mandapa, he takes the sahkh and the sthanikar 
pours water into it which the bhattar pours 
over the linga : this is repeated thrice. The 
sthanikar now gives him the ghatam , which he 
empties also over the linga. Next the sthani¬ 
kar brings to the bhattar a vessel of Ganga 
water, 41 which he pours in the same way. Then 
a dry cloth is given with which to dry it. 
Next he washes all round the linga with water 
from the large vessel in the shrine. Then two 
cloths are brought for vastra and upavastra , 
which are tied round the middle and thrown 
Over the top of the linga. The sthanikar next 

41 Pilgrims from the north often bring Ganges water 
which is received with great 4clat, elephants and 
dancing girls going out with music to convey it to the 
temple. 


L.of C. 




84 


brings the silver tripundra or mark, of three 
horizontal bars, and the bhattar, making the 
usual mark with sandal paste, presses the 
tripundra against it so that it sticks, and puts 
a tilaka or round mark over the central bar. 
Then silver eyes are brought which are similarly 
stuck on ; and lastly a garland is put over it. 

The sthanikars come out of the mandapa 
and pour water in front of the great Nandi— 
which is built up and plastered over, and is of 
great size. Water is also poured on all the other 
lihgas. The bhattar takes sandal-wood paste in 
a cup and bilva leaves in a plate, and goes round 
to all the lihgas and images, putting a tilaka on 
each, and laying two bilva leaves on the top. 

The sthanikars next bring with music from 
the kitchen, mudgdnnam (T. pongal ), guldnnam 
(or rice prepared with sugar, ghi , green dhal, 
cardamoms, milk and cocoanut), samhha - 
rdnnam (rice cooked with tamarind, sesamum 
oil, chillies, mustard and salt), bread made of 
black gram ( phaseolus radiatus ), bread of rice- 
flour with sugar and ghi, a cake made of rice- 
flour drawn into threads like maccaroni, rice 
with milk, dhal boiled with salt, curds, ghi and 
curries. This is brought into the Ardha-man- 
dapa near the shrine door and the bhattar 
sprinkles it with water, and taking a bilva leaf 
he places it at the foot of the lihga , saying : — 
Maya sarvdn naive dya -p ad drill an ahgikritam iti 
prdrthaniyam J , 


35 


Then pouring water thrice he says, as before:— 
arghyam, &c. Next he waves a bilva leaf to¬ 
wards the image, saying :— Mudgdnnam naive¬ 
dydmi | guldnnam naivedydmi | sambhdrdnnam 
naivedydmi | mdshdpupam naivedyami | apupam 
naivedyami | atirasam naivedydmi | vichitra- 
bh ah shy am naive dy ami \ pdyasam naivedydmi | 
sujpam naivedydmi | djyam naivedydmi | dadhi 
naivedydmi | and vyarijanam naivedydmi i2 —wav¬ 
ing his hand five times; meanwhile music is 
going on in the Nandi-mandapa and a sthanikar 
rings a bell in the temple. 

The sthanikars now remove all the food to a 
room to the south-east of the Amman shrine, 
beside the kitchen, delivering it into the charge 
of a Maniyakaran, who locks it np. In the 
temple a sthanikar takes a bell in his left hand 
and a dhupa and dip a in the other, and ringing 
the bell gives the dhupa to the bhatfcar and 
withdraws the curtain. The bhattar waves 
the dhupa , saying— dhupam dghrdpaydmi y and 
ponrs water thrice on the floor ( dchamaniya ) 
then waves a dip a with one light ( ehamuhha} 


48 Mudgdnnam —Rice cooked with, green dhal, butter, 
ginger and spice. Guldnnam —Rice cooked in milk, 
sugar, butter, grapes, &c. Sambhdrdnnam —Rice cooked 
in Tamarind juice, spiced and scented. Mdshdpiljpam —• 
Cakes prepared from black gram. Apdpam —Cakes. 
Atirasam —Cakes prepared from rice flour and sugar in 
equal parts. Vichitrabhakshyam —Yarious cakes and 
sweetmeats. Pdy&sam —Milk boiled with sugar, grapes, 
&c. S'dpam —Cake prepared out of a kind of pulse. 
Ajyum—G hi. Dadhi —Curd. And Vyanjanam —Curry 
stuffs. 



36 


saying:— ‘dipam da rsay ami ; then a sthanikar 
gives him a lighted saptasthana-dipa which 
he waves with both hands, saying :— alamkara - 
dip am darsay ami. He returns each in turn 
to a second sthanikar. Then he pours water on 
the floor saying, achamaniya, and receives the 
pahcha-sirsha-naga-dipa, which he waves say¬ 
ing, dip am darsay ami', and so in succession he 
receives the vrishabha-dtpa , the purusha-mriga- 
dipa, the nakshatra-dipa and the kumbha-dipa , 
and waves each, first in a wavy line from 
above downwards, then thrice round going up 
on the left and down on the right side and lastly 
bringing it straight downwards, and saying the 
same words. 43 Here the sthanikar stops ringing 
the bell, and the priest repeats the words :— 

Dhupam dadydt prathamato naivedyam 
ddpayed guruh j tumbulam tu nivedyatha punar 
dipam tu darsayet || mahadipam tatahyaschad bhu- 
tarudrdni samjnikdn | ndga-d^yam sesha-dipam 
purushdmriga-sarhjhikarh 11 NaksJiatra-samjhilcam 
dipam panchatrinekavaktrakam | aratmkam cha 
sarvatra samdropya samarchayet\\gandhapushpair 
dhupayuktam digbandham chapakunthanam | pan - 
cJiamudrd-samdyuktam dJienumudram pradar- 
sayet [| panchabrahma shadangais cha paschad- 
drdtrikam nay61 J Niranjane tu tatkale ghanta 

i3 At a festival I observed that the bhattar who waved 
the lamps held down his hand after each, that one of the 
sthanikars might pour a little water on the fingers of it, 
then he took a flower out of his left hand and threw it at 
or upon the dipa he was about to receive. A Becond 
bhattar always repeats the formula at his left hand. 




37 


iahdd'-nivarjitcnh || nirdnjanam talo datlvd ma~ 
dhye chdchamamyakam | bhakmdni dark aye t pas- 
chat bhrumadhye tilakuhhumdn jj 

“ First the incense is to be offered ; then 
the priest presents the sacred meal; then 
aiter presenting betel-leaf the light must be 
presented ; then the mahddipa ; bhuta rndra 
dipas ; the nag a dip a; the sesha dipa ; the 
purushamriga dipa; the nakshatra dipa which 
is arranged in three rows of five, three, and 
one respectively; all these dipas each with 
its worship must be waved before the god; 
then the digbomdha and Apakuntha ceremony 
with sandal powder and incense must be per¬ 
formed ; the Pahcliamudm and Dhenumudra 
must be presented ; the waving of the Aratri 
with the five Brahmas and the six aiigas must 
be performed; then the waving of camphor 
ceremony must take place when the sound of 
the bell must be stopped ; after the Nirdhjana 
the dchamaniyaka must be offered; then the 
sparkling mark of kuhkuma' must be placed 
between the eye-brows.” 

Then the bhattar pours water on the floor, 
saying, achamannja, and with ashes, kept by 
the door-jamb, he puts a tilaha on the ling a. 
A sthanikar next gives him a looking-glass 
which he shows to it; a small umbrella which 
he holds over it for a little ; a chdmara that he 
whisks twice or thrice, and a fan of peacock 
feathers which he waves for three or four 


38 


minutes. Then he takes flowers and bilva 
leaves, and presenting them to the linga, with 
joined hands he repeats :— 

Puj dparddha-sdntyartham kshamasveti may - 
drchand | Ndmnd kritdchutdrddhya tanotu td- 
vatwi mud am || 

“ For the atonement of any mistakes that I 
may have committed in my worship, I have 
now performed the worship. May it give you 
pleasure ( satisfaction )!” 

He next commences the archand ; facing the 
north, and holding a tray in his hands with 
bilva leaves, the bhattar stands in the shrine, 
while the Adhyayanabhafctar, standing in the 
Ardha-mandapa says 

Sivdya namah j Samkardya namah | Mahd- 
devdya namah \ tiambhave namah \ Pasupataye 
namah [ Isvardya namah | Chandrasekhardya 
namah | Khandaparasave namah \ $*c.,tol08or 
1008 names. 

A sthanikar has now brought back the food 
from the arai or pantry, and the bhattar 
sprinkles it with water and waves his hand 
from it towards the ling a, saying :— 

Kadati - phalam naivedydmi || Pugi-phalci- 
samdyuJctam ndga-valli-daiair yutam | karpura- 
churm-samyuktam tdmbulam pratigrihyatdm || 
Tdmbulam naivedydmi. 

Next, he gives holy ashes ( vibhuti ), bilva 
leaves and water, to those who are worshipping 
in the Mahamandapa. A sthanikar then takes 


39 


some boiled rice in a basin and covers it with, a 
cloth, another brings a bell in his left hand and 
a dhupa and dipa, in his right, and they go with 
music to all the lingas in the enclosure, the 
bhattar following. To each lihga the sthanikar 
lifts the corner of the cloth, the bhattar waves 
his hand, offering naivedya, and presents the 
dhupa and dip a. The same is then done at the 
shrines of Vinayaka, Subrahmanya, &c. 

Next the bhattar pours water and lays down, 
bilva leaves and rice on each end of the- 
threshold of the east door of the Mahamandapa. A 
copper image like a trisula (Sivali—a Balidevata) 
fixed in a hemispherical base is now carried in a 
small palanquin by two men out at the east door 
of the Mahamandapa, down the north steps, and 
round the shrine by the south, the bhattar- 
following and putting water, bilva leaves, and 
food on all the balipithams —of which there are 
nine to the south and three on the west of the 
shrine outside, and three in front of the Maha¬ 
mandapa. Coming round by the north the palan¬ 
quin is carried out to the Nandi-mandapa, round 
the north side of it, out into the second Prakara 
and to the Yagasfihi in the north-east. There 
the sthanikar puts fire into one of the homa - 
hundas and the bhattar goes in and taking as 
much food thrice as his fingers will lift, he 
puts it into the fire, saying, Devabali, BhutabaU 
and Isvarabali. The palanquin is now brought 
back to the great gilt balipUham behind the 


40 


dfivajastambha , an which the bhafctar pours 
water, and lays bilva leaves and a ball of food 
from the tray carried by the attendant sthani- 
kar, this he sprinkles with water and offers 
saying '— Bdhyci-devatdbJiy6 f baliui naive dy ami. 
This food is then given to the attendant whose 
duty it is to blow the sahkh. The bhattar then 
ponrs the remaining water on the balipUha and 
throws the rest of the bilva leaves up an it, and 
the palanquin proceeds by the south side of 
the Nandi to the Mahamandapa, ascending ta 
the east door by the south steps. The bhattar 
now locks the door of the Ardha-mandapa 
and the third or Udayakdlapujd is closed, the 
time being now about noon. 

The fourth service or TfcJihikdlapujd begins 
soon after the close of the last, and is exactly 
like the first after the svami or image has been 
removed from the Amman temple, that it need 
not be gone aver again. It lasts about an hour 
and a half, after which the doors are locked and 
all go to their houses for meals. 

Again about half-past five the drummers and 
some of the musicians sit in the entrance porch 
and play with might and main in the shrillest 
of keys. At sunset the sankh is blown in the 
porch and the lamps are lit, servants being 
appointed far that purpose. The sthanikars 
then open the doors and light the temple, 44 and 

44 The shrine being perfectly dark, lights are kept 
burning behind the lir'iga all day. 




41 


the bhattar, having bathed and having put on 
a clean cloth and ashes, comes and makes the 
Sdyarakshdpdjd, which is a repetition of the third 
or Udayakdla described above. This is attend¬ 
ed by many pilgrims, and lasts till 9 or 10 
o’clock P.M. 

The sixth and last yujd—■Ardhajdma , is also 
a repetition of the first, including the abhisheka. 
After this, the bhattar puts the golden image 
into a small palanquin and waves a camphor 
light before it; then the sthanikars, preceded 
by musicians and the attendant dancing girl, 
(ddsi ) carry it out by the north steps from the 
east door, the bhattar presenting dhiijpa and 
dijpa and offers betel-nut and leaf (kdldriji) in 
front of the Nandi, they bring it round the 
north side of the Nandi, in front of the treasury, 

(karuvalam ) where again dhujpa and dtpa are 
presented, and again on the north-east opposite 
the store-room. It then proceeds east and 
south along the second Prakara to the south 
entrance into the Amman shrine. By the sides 
of the door out of the Prakara are statues of 
Tirumalai Setupati (on the east) and his son 
Raghunatha Tirumalai Setupati, 45 where it 

45 In S. 1562 Tirumalai is said to have given to the 
temple the villages of Puliyarikudi, Kumarakurichi and 
Karumal with its hamlets, and a copper-plate deed ; and 
in S. 1570 Raghunatha gave Muluttakam, Nambitalai and 
Attiir, with separate copper-plate deeds for the first, 
and the other two. None of these copper-plates are now 
to be found in the temple. 



42 


stops, and the statues are honoured with o-ar- 

o 

lands before it enters. At the south entrance 
of the Amman temple, the bhattar takes out 
the image and places it in the bed beside 
Amman. There a camphor light is waved ; the 
sthanikar brings milk, and the bhattar offers it 
as naive dya. 

He now comes out, and the dancing girl at 
the door repeats a Tevdra urijal or verse in 
honour of Siva :— 

Mandiramdm Saduragiri hdlhaWm 
Mahdmeru Ponmalaiyum vittamaha 
Vindaiyanda Seshan iru kayiraddlca 
VilahguJcinra Meyjndvam jpalakay dha 
Tandirarnd Mdl Ayanum vadantottdtia 
Chaturmarayor arukirundu sadahgukdtf a 
Sunda ra m e tirume nin ddar jpahkil 
Tunai Mdlaindyakiydr ddiruhjal 

11 Mandara and Saduragiri mountains are 
turned as it were into two pillars for the sus¬ 
pension of the swing ; Mahameru and Ponmalai 
are converted into beams ; the powerful Sesha 
has made himself into two cords; the true 
wisdom itself which shines supreme is turned 
into a plank ; Vishnu and Brahma hold the 
cord and sway the swing to and fro; the learned 
Vedic Brahmans stand near and perform the 
necessary rites; the beautiful goddess Malaina- 
yaki (Sans. Parvatavardhini) sits by your 
side. Let us rock the swing-.” 

o 


43 


And a Pandaram ( Oduvdr) also repeats another 
tevdra. 

Manana nolchi Vaidehi tannaiyoru mdyaiydl 
Kdnadil vavviya hdraralckan uyir serravan 
Yenamilappugalannal seyitavi Rdmechhura 
Ndnamum nanporuldgi ninratoru nanmaiye. 
“That the daughter of Videha (Sita) seeing 
the deer mistook it, without knowing that it 
was a Rakshasa come in disguise to entrap 
her, has after all taken a beautiful turn by- 
establishing for ever the name of Ramesvaram.” 

The sthanikar meanwhile swings the cot to 
and fro and fans the images, and people attend¬ 
ing for worship are supplied with sacred ashes. 

Other sthanikars now lock and seal the doors 
of all the shrines; all go out, and the sthanikar 
counts the jewels on the images, closes and 
seals the door, locking the prdkdra doors 
and departs about midnight. 





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